Digitized by the Internet Archive
in 2011 with funding from
Solomon R. Guggenheim Museum Library and Archives
http://www.archive.org/details/jeanxceronOOrobb
JEAN
XCERON
THE SOLOMON R. GUGGENHEIM MUSEUM, MEW YORK
© 1965, The Solomon R. Guggenheim Foundation, New York-
Library of Congress Card Catalogue Number 65-26312 Printed in the United States of America
THE SOLOMON K. Gt'fJGEXHKIM KOITXDATION
TRUSTEES
HARRY F. GUGGENHEIM, PRESIDENT
ALBERT E. THIELE, VICE PRESIDENT
H.H. ARNASON, VICE PRESIDENT, ART ADMINISTRATION
ELEANOR, COUNTESS CASTLE STEWART
DANA DRAPER
PETER O. LAWSON-JOHNSTON
A. CHAUNCEY NEW LIN
MRS. HENRY OBRE
DANIEL CATTON RICH
MICHAEL F.WETTACH
MEDLEY G-. B. WHELPLEY
CARL ZIGKOSSEK
JEAN XCERON is of Greek birth. His own form language, which
reinforces the stylistic current of geometric abstraction that is rooted in
Mondrian's neo-plasticism, came fully into its own between the two
world wars, to remain, in modified form, a vital force in our own time.
In the United States, Xceron's adopted home, the artist was a daring
pioneer before he earned for himself the esteem and the admiration
accorded to old masters.
It is eminently fitting that his distinguished career as a painter should
receive its most decisive endorsement through a one-man show at
The Solomon R. Guggenheim Museum. For it was this museum's first
director, Miss Hilla von Rebay, who, far back in the 1930's, acquired
Xceron's work, and James Johnson Sweeney who, long before succeed-
ing the Guggenheim's directorship, aided the artist in his strive for
recognition in this country. Partly as a result of such endorsements,
Jean Xceron literally found a home in The Solomon R. Guggenheim
Foundation, where he has been employed and has fulfilled his duties
with attentive loyalty ever since 1939.
The current exhibit surveys selectively Jean Xceron's life-work. The
artist himself has spent considerable time and effort in making sure
that both the exhibition and the catalogue reflect his career faithfully.
With his assistance, Daniel Robbins, until recently Assistant Curator of
The Solomon R. Guggenheim Museum, carried out and completed the
task. As director of the Museum of Art of the Rhode Island School of
Design, Mr. Robbins will have the satisfaction of sharing the Xceron
retrospective exhibition with the Guggenheim Museum.
Thomas M. Messer, Director
LEPERS
Mr. and Mrs. Norman Belgrade. Chicago
Lawrence Bloedel, Williamstown, Massachusetts
Mr. and Mrs. Saul Edelbaum, New York
Rose Fried, New York
The Joseph H. Hirshhorn Collection, New York
Mr. and Mrs. Edgar B. Miller, Chicago
Mr. and Mrs. Fred Olsen. through The Olsen Foundation. Guilford, Connecticut
Denis E. Paddock, New York
Mr. and Mrs. Walter Nelson Pharr, New York
Mr. and Mrs. George Phillips. Jr., Chicago
Miss Hilla von Rebay, Greens Farms, Connecticut
Miss May Walter, New York
Mary Dorros Xceron, New York
Krannert Art Museum, University of Illinois. Champaign
The Solomon R. Guggenheim Museum, New York
Whitney Museum of American Art, New York
Rose Fried Gallery, New York
11
XCERON
BY DANIEL ROBBINS
Jean Xceron learned about Classical antiquity at the Corcoran School of Art in Wash-
ington, D.C. Between 1910 and 1917. fitting his academic training into a sporadic schedule of
odd jobs within the local Greek community, he worked from plaster casts, patiently adapting
studies of bones from the morning anatomy class to the contour drawings demanded each
afternoon. In Washington. Xceron discovered that there was special cultural distinction in
being a Greek, descended from the historical source of beauty as well as democracy. Like the
rest of the Greek community, he was proud to realize that Classical tradition was the basis of
the Beaux-Arts ideal ; and it must also have been satisfying to observe that his adopted coun-
try designed the official buildings of its capital in imitation of ancient temples. But in 1910,
it was somewhat difficult for Xceron to think of those ideals directly in connection with his
immediate past. Those plaster casts, reflections of unseen originals, and those government
buildings, colossal derivatives from unremembered prototypes, did not reflect the Greece of
his boyhood. In the Greek Orthodox church, and in the homes of relatives and friends, he had
seen and admired ikons, not Praxiteles ; and to relieve the cast copying, he spent hours in the
Library of Congress studying plates of Ravenna mosaics, rendering them in watercolor, even
venturing his own designs for mosaics and pictures of the saints. Furthermore, he knew that
every town in the United States where Greeks settled needed such images.
Xceron was fourteen when he arrived alone in New York, fresh from a small mountain
village, Isari Likosouras, in the heart of the Peloponnesos. His father, Petros Xerocostas, was
a blacksmith, and at home there had been no memories of a Classical past. Instead, there had
been stories about the heroes of the Greek revolution, whose portraits Xceron had painted on
the walls of his father's house. There were also ikons in the Byzantine tradition, for the saints
12
like the revolutionary heroes of less than a hundred years before, formed a real part of his
family's life. To be an artist in such a tiny village was improbable, but the precocious decora-
tions he made— the sculpture fashioned from bits of iron, copper wire and other scraps from
the blacksmith's shop, the engravings on stone— these were admired as embellishments and
signs of able craftsmanship.
Xceron had relatives in America; in Washington, in Indianapolis, in Pittsburgh,
brothers and cousins of his father had launched hat cleaning, shoeshine, ice cream and candy
shops. These industrious immigrants, who formed closely-knit groups in each community,
welcomed the fourteen-year-old Xceron as a countryman and an additional hand. From 1904
to 1910 he lived with relatives in the Greek communities of these three cities, finally settling
in Washington only when he was twenty and determined to be an artist. His skill was useful
to the community, which turned to him for ikons. In 1918, to celebrate Greek Independence
Day and Greek-American solidarity, he was asked to paint an enormous temporary mural for
the pediment of the Treasury Building: scenes of Greek gods and heroes, balanced against
modern patriots and soldiers. Xceron's Corcoran training was helpful to him, and the pageant,
with Xceron's decorations, was such a success that the Greek flag and Xceron's decorations
adorned the Treasury Building all day long.
While at the Corcoran, Xceron not only encountered his presumed Greek heritage, but,
more subversively, acquainted himself with the new traditions of modern art. Among his
fellow students (who also included Abraham Rattner) were George Lohr and Charles Logasa.
largely responsible in 1916 for creating Washington's "Armory Show" by borrowing a large
group of paintings from Alfred Stieglitz in New York. Although this tardy version of the ex-
hibition that had shocked New York, Chicago and Boston created little furor in Washington,
it made a profound impression on Xceron, who realized that his own preference for the flat,
rich patterns of mosaic, with their expressive distortion, was a great deal closer to the pro-
gressive ideal than to his careful renderings from casts and models, even if they were Greek
and certified by his art teachers. As a consequence, during his last year at the Corcoran he
began to be regarded as a revolutionary. His increasingly free interpretations of the model
(he painted a blue self-portrait with cubist faceting a la Picasso) and his earliest non-
student works, Crucifixion No. 6, 1917, and especially Adam and Eve No. 9, 1919, show a graft-
ing of cubism to Byzantine tradition. In his limited palette range, his geometric distortion of
figures and his shallow space, Xceron's debt to early twentieth-century French painting was
already evident, but in the scale of his work and in its naive charm, he preserved the feeling of
a provincial ikon painter. The most advanced formal and iconographic device in the little
Adam and Eve is the tree that vertically divides the work, serving simultaneously as snake and
Xceron's house in Greece
Xceron with cast at Corcoran
13
tree trunk, with the apple functioning as the snake's head. For a short time Xceron flirted
with the idea of making his living as a religious painter, he even planned a series of murals
for the Greek Orthodox church in Tarpon Springs, Florida. He soon realized, however, that
the cozy and insulated Greek community was not where art was advancing, so turning his
eyes toward Paris, he moved to New York.
It was in New York that, for the first time, he encountered another world and discovered
to his surprise that the solidarity then existing among artists was not unlike that which had
sheltered him since his arrival in America. He became friendly with Torres-Garcia, who
painted his portrait in 1920 and met, among others, Weber, Walkowitz and Stella. He fre-
quented the Metropolitan, the Public Library and the Whitney studio, and with his new
friends exhibited in the New York Independents in 1921 and 1922 at the Waldorf. He began
to travel independently, going up the New England coast as far as Ogunquit, Maine. The
effect of these years is summarized in the more sophisticated, although less personal, work he
was producing by 1923. Realizing that Cezanne was the principal source for those develop-
ments in contemporary painting that most interested him, Xceron had consciously studied that
master, abandoning both the primitive charm of his earlier work and its realistic detail in
favor of a concentration on formal organization. Yet in Landscape No. 36, 1923, there is an
anticipation of what would become one of the most important characteristics of Xceron's
mature style: a diffused light radiating from the roof of the house, thus giving the little paint-
ing a quality of buoyancy. This interest in light was then secondary, probably unconscious,
for Xceron had set out to compose harmoniously, without regard to the direction of light or the
length of shadow, certainly without regard to the time of day or the quality of subject matter.
By the time he had saved enough money to go to Paris in 1927, Xceron had established
an accomplished post-Cezannesque style. He had also established some valuable friendships,
among which was that of an ex-Athenian family, the Dorros', who controlled a flourishing
bridal veil manufactory with offices in both New York and Paris. Much later he was to marry
Mary Dorros, but in the twenties it was her elder brother, Theodoros, a writer and intellectual,
who exerted a profound influence on Xceron's intellectual development. Having commissioned
a portrait of Tolstoy from Xceron, he then went on to interest the artist in a wide literature.
Because of his encouragement, and with the help of introductions from Abraham Rattner,
Xceron, who had been painting independently for more than ten years, found the confidence
to write a series of articles for the Boston Evening Transcript and the Paris edition of the
Chicago Tribune. He thus was accepted immediately into the Paris art world, not yet as a
painter— of which there were hundreds from all parts of the world, but as an American critic
highly sympathetic to modern art— of whom there were very few. He wrote articles on
Greek pageant in Washington
Torres-Garcia portrait of Xceron
14
Mondrian, Van Doesburg, Leger, Arp and Larionov; he visited studios, discussed painting and.
unknown to many of his friends, he returned to his own studio and painted.
Only the wise and sympathetic Torres-Garcia and the Dorros' knew that Xceron was a
painter, but gradually certain Greek members of the Paris art world, the writers Christian
Zervos and Teriade, the sculptor Tombros, not only discovered that Xceron painted, but that
in his modest, quiet fashion he painted very well. His first one man exhibition thus opened at
the Galerie de France in 1931 under the sponsorship of the influential Cahiers d'Art. Xceron
was dazzled by the procession of notables who trooped through the gallery: Mondrian. Arp,
Leger, Van Doesburg, Masson, Helion— almost every Paris painter of consequence, all painters
about whom Xceron had written and all men whose work he had profoundly admired for
years— came to see his paintings and went away impressed.
What they saw was a group of post-cubist canvases tempered by a very personal
lyricism. Had they known the Xceron who struggled between 1919 and 1929 to master the
logical construction of Cezanne, they would have remarked the greater boldness with which
he applied paint, and noted how curvilinear forms had replaced rectangular ones. It was
evident, as in Violin No. 7 that his still life subjects were wholly and deliberately suggestive of
human figures. This characteristic of imparting markedly human associations to what might
at first seem to be purely investigative exercises in the organization of form became increas-
ingly evident as Xceron's work developed. It appears in Portrait of the Artist No. 67, 1932,
where the thrust and slight forward tilt of the head create a sense of great alertness, even
though there is no expression on the face. It is also apparent that the head is an analogy to the
top of a stringed instrument.
Xceron's most significant painting of the early 1930's is Violin No. 6E. As James
Mellow noted, this is a transitional work, proceeding from curvilinear forms on the left, where
Picasso's influence is most apparent in the figure strumming a musical instrument, to purely
horizontal and vertical divisions on the right, where one sees reminiscences of both early
Mondrian and Torres-Garcia.1 The painting, however, also contains an intervening stage that
is an important key to Xceron's future work. This link is not so specifically localized as an
area of the painting, existing rather as the necessary completion of an idea. The middle third
of the picture is a close dissection of instrument forms themselves, the "S" curved sound
openings, the strings and round holes. Thus, the final, right third of the work, where light
modelled areas exist alone, represents pure sound, and the whole painting quite literally
develops from reality to pure abstract effect, as evident in the iconography as in the regulari-
zation of the forms from left to right: player, instrument, sound.
All of Xceron's paintings from 1933 to 1936 strive to rid themselves of the last traces
of figuration, yet equally, they are all about music, people and art. His forms meet with
dignity, they never collide, never passionately embrace, never become uncontrolled. Through-
out this period, he favored a vertical format, and gradually reduced textural emphasis, that
density of pigment which had been so considerable during the previous six years. Finally, in
1935-36 he worked almost exclusively in watercolor and gouache, for Xceron required this
discipline to concentrate on his growing interest in light. This light came from no outside
source, but instead radiated from the colors, clinging to the edges of a form and imparting a
certain ethereal quality.
Returning to oil in 1937, Xceron utilized the discipline he had gained from experience
with gouache to produce beautiful, cool and transparent harmonies. He had developed a
modelling or chiaroscuro that refused to turn or round the form. Unlike Leger, who also con-
sistently modelled simple shapes to impart weight, density, or a sense of volume, Xceron's
modelling achieved instead a palpable atmosphere around clear and intense forms, concen-
trating greatest luminosity toward the center of the canvas as in Composition No. 242. His
1 Mellow, James. "Jean Xceron at Seventy," Arts Magazine, New York, vol. 34, no. 9, June 1960, pp. 30-33.
15
shading was always from top to bottom, or bottom to top, never from left to right. In addition,
although he used bright colors, he never assaulted the eye. Thus, in Painting No. 239, using a
white ground with intense colors, he modulates violet like the pressured strokes of a pen, hard
and then soft ; he plays a vivid yellow against white so that it almost flashes ; but, very carefully,
he relieves the optical pressure with a narrow dark line against the form, and a nearby
soothing green.
As Xceron's works grew in confidence and delicacy, attaining by 1937-38 a rare tech-
nical perfection, they gradually lost some of their once-characteristic innocent gravity to
become almost playful. Toward 1940-41 (Composition No. 251), forms became smaller and in-
dividual arrangements more intricate ; the geometric perfection of a curve or an ellipse freely
modified, preparing for his first non-right-angled orientations. These changes are evident in
the small, lyrical Fragments No. 252, 1941, where variations in background intensity
have become more pronounced, the color gathering strength as it adheres— almost as if
magnetically attracted— to the playful forms which for the first time meet in a series of oblique
angles. Instead of a central, radiating luminosity, a quiet and subtle movement from dark
edges to a light core, these edges fade into a nimbus of softly radiating light. In Composition
No. 269, the shadows cluster around the forms, now more monumental and rugged. At the very
core, an apparently solid, unmodelled shape slips quietly into the background, dematerializing
into a magnificent violet glow. Xceron had reversed the customary function of light, for instead
of using light to reveal form, he arranged to have it swallow shapes, dissolving the crispest
forms in the process. He created a mysterious dawn, in which light absorbs rather than illumi-
nates, his pure geometry.
During the early 1940's, Xceron mastered absolutely quiet, infinitely subtle transitions
in form, using color areas modelled from bright to dark, but without ever tilting a plane or
causing an indiscreet jump either forward or backward. His surfaces were perfect and deli-
cate, like a membrane everywhere equal. In 1944, however, the brush stroke, which had been
banished since the gouaches of 1936. suddenly reappeared in White Form No. 271. In the
Whitney painting (Composition No. 273) and the Miller painting (Composition No. 275), he
began to work out the implications of this bolder touch which eventually would distribute
radiating light areas against radiating dark areas to yield a much deeper space. In the Miller
painting, the dark, dynamic cross-hatching seems to emphasize the attraction of dark for light
and light for dark and these two forces are more nearly equal than they had been in the
earlier, more tranquil paintings.
At the same time, Xceron's color grew ever more bright and varied and his forms be-
came more intricate, because they were consistently open. From 1945 through 1948, they were
enhanced by a striking use of black line, a line broken and roughed by impinging color, as
if white light could be sucked out of the multicolored void by these sensitive antennae (as in
Multiform No. 303, 1947, or Rhythm No. 301). This was the period of Xceron's widely pub-
licized painting Radar.2
Over the years, Xceron's art found increasing recognition. By the mid-1930's he was—
to his surprise— a painter of reputation, one of the inner circle associated with Circle et Carre,
Abstraction-Creation, and the Surindependants. When he came back to America for his first
New York show at the Garland Gallery in 1935, he became friendly with two of the most
perceptive Americans then interested in abstract art: James Johnson Sweeney and David
Smith. Smith asked his advice and received counsel to become a sculptor. (Very good advice,
it turned out.) Sweeney was instrumental in obtaining his second United States exhibition, at
the Nierendorf Gallery, and for this Xceron again returned to America late in 1937. He never
went back to Europe. At the Nierendorf. Hilla von Rebay saw his work and acquired examples
for the Guggenheim Foundation, thus inaugurating a long association.
Radar, commissioned by Alfred H. Holbrook is in the collection of the Georgia Museum of Art, Uni-
versity of Georgia. It was reproduced in Life, New York, vol. 24, no. 5, February 2, 1948, p. 69. Accom-
panying the story, "Radar; A Non-Objective painter tries to marry science and art on canvas."
16
The American Abstract Artists, then barely organized, welcomed him with open arms
for, in those days before the arrival of the great wave of exiled Europeans, he was one of the
very few abstract artists who had acquired an international reputation. He had already sur-
mounted some of the barriers that this handful of American abstract painters faced: public
indifference and official hostility; his was a modest success that could help counter the deeply
rooted provincialism of the American art world. Commercially, Xceron fared only a little
better than his new colleagues, but he did symbolize the achievement of Parisian abstraction,
and, for years (well through the 1940's, when American exhibitions were almost entirely
dominated by regional and social realist art) Xceron was one of the very few abstract artists
admitted into the large national competitions, standing out like a rare curiosity in almost every
Pittsburgh survey, and somehow convincing even the most conservative juries of his honesty
and skill as a painter. While working on the Federal Arts Project, he continued to execute
resolutely non-objective murals, a style almost totally alien to the typically social realist
W.P.A. art, even in the chapel at Riker's Island Penitentiary. One wonders what the inmates
thought !
No fanfare ever surrounded Xceron or his work. Temperamentally incapable of sensa-
tional behavior or active group participation, he could only continue to paint, even when the
sudden explosion of a new kind of American abstract art began to command universal atten-
tion in the late 1940's and early 1950's. In Paris, he had been briefly part of an international
abstract movement; in the New York of the 1950's. he was already respectfully identified with
the past, and gravitated back to the Greek community, where he felt most at home. This
American-Greek community has yielded other important artists: Vagis, Nikolaides, Kaldis,
Constant, Stamos, Baziotes, and more recently Voulkos and Lekakis— all Greeks, all of differ-
ent times and temperaments. Xceron, however, was among the first, and Xceron, for fifty years
has been among the most constant and diligent in his single-minded, unswerving pursuit of a
quiet ideal. Other Greek-American artists moved more freely in the world of American art at
large, became more American, identified with a prevailing style— much as Xceron (considered
an International) had done during his ten years in Paris. Thus, the New York abstract move-
ment swept past him to general acclaim, and Xceron, who had been one of the few exhibitors
of geometric abstract painting in the 1930's and 1940's, still remained virtually alone during
the 1950's: one of the few "classic" abstract painters. Today, in the mid-1960's, with yet
another fresh wave of American painting dominating the catalogues of large group shows,
Xceron's independence and individuality has become even more compelling, for he continues
to develop and expand his art, even though its principles had been established in 1936-37.
Now, there is no background of a current period style to submerge his great ease and quiet
perfection, his quality as an independent artistic personality.
To the attentive observer, Image No. 330, 1949, will seem as much an anomaly as the first
brushed paintings of 1944-45. In many respects it represents a return to themes from the early
1930's, although it is more subtle and complex in its allusions to figures and musical instru-
ments and more resolutely cubist in its spatial organization, as if Xceron consciously grasped
for his tradition to help sustain himself in the flood of Abstract Expressionism. It is also the
first painting in thirteen years not chiefly concerned with light, and as such is a preparation
for Xceron's next crystallized interest, the figure. He must have felt that his paintings had
become too diaphanous, too soft, too light-enveloped, and therefore made an effort to tighten
his forms, to create a more aggressive image with crisper internal movement. Painting No.
239 and Sound No. 291 share qualities of hardness and softness; Beyond White distills crisp-
ness of movement, but sheds rough black line. Finally, by 1954 with Ikon No. 386 and large
delicate watercolors like Figure No. 389 A, 1955. a clear-cut single image emerges, a strong
white megalith on a deep blue ground.
Painting 9, No. 424, 1958. was the first Xceron since 1932-33 in the horizontal
format. Although it employed the sharper forms that culminated with Ikon, the nature of
the shapes underwent still further metamorphosis. There are no longer rectangles, circles,
ovals, but more organic, suggestive images. The organization now recalls a landscape, with a
17
deliberate, slow movement from left to right, a glow of twilight against which are set rock-like
shapes. On the right, a large white area hangs over a blue, reminiscent of a gleaming temple
overlooking a precipice. This balance contributes a certain minimal anxiety, the level that
Xceron tolerates; we know the white will not really topple, because it is so firmly balanced
against the glowing light passage across the bottom of the painting.
Through the next years and up to the present, movement in Xceron's paintings con-
tinued to become more active, the colors growing stronger and, above all, the pulsation of
light more prominent. References to figures and fragments of landscape become constant and
more complete. Painting No. 426, 1959, and Painting No. 430, 1960, are, for Xceron, almost
violent paintings. In the latter, angles clash in from all four corners and the figure forms-
head, neck, breasts— are splayed out again in a landscape space. Composition 8, No. 432, 1960,
is one of the boldest and most daring arrangements Xceron ever produced, with areas of
intense swirling whites punctuated by incisive black arabesques that almost swamp the figure
forms in the lower right. The figures, however, were determined (almost as if they had a will
of their own) to emerge. Finally, in 1961 Xceron painted a white canvas black, and drew a
frieze of almost barbaric, primitive forms across it, these illuminated by yellow-green light,
with the light cohering as before to the edges of the forms. Although reminiscent of Classical
black ground vase painting, this 1961 picture also sustains a blood red at the bottom, and a
streak of deep blue behind. It has the quality of a ritual dance. In Source No. 445, 1962, the
same method allows forms of violet and lurid yellow to grapple together like two archaic
monsters in a field of bones and shattered trees. These shapes avoid collision. From an artist
now over seventy, these works are the darkest and most romantic of his lifetime ; they include
the El Greco-like Painting 7, No. 438, 1961. whose twisting forms lean in from dense space
but, as always, never become uncontrolled.
As brooding and near-violent as the large oils became through 1962, Xceron's drawings
and watercolors pursued a more placid course. In theme, the barbaric and active figures that
appear in the paintings present a sunnier, if no less primitive, mood. Pageant No. 558A, a
drawing in the Walter collection, is exquisitely organized and possesses all the spirit of a
group of centaurs at play. Finally, in the oils from 1963 to the present, all the figures clearly
emerge— graceful, active, almost with facial expressions, always alert— playing against a
sensuous clear blue which clings materially to the purity of their forms. These works,
Caryatides 27, No. 452 and Figures 24, No. 449, 1963, were painted out-of-doors on clear and
sunny afternoons. Xceron, 75 years old, seems to have returned to the Arcadia he had not
seen since 1904, but his Greece was still not the Greece of plaster casts.
In these years of old age, a whole painting career intervening and a wide culture at-
tained, specific memories that had meant little or nothing when he first came to the United
States begin to return: mountain-locked Isari Likosouras, his native village, was always
flooded with light and to the south, the gulf of Messinia sparkled thirty or more miles away;
the site of Lykosuras with its ruined city on an acropolis; the sanctuary of Despoina, its
ruined Doric temple. These distant, but now meaningful images influence the imagination of
Xceron, the still classic abstractionist, but also the Greek who wandered there, unthinking, as
a youth. He can draw the temple now; sixty years ago it was merely a familiar heap of stone
on the outskirts of his village.
Xceron's art has always been so gentle, its drama internal and apparent only to those
who follow it attentively. Instinctive, almost humble, it attains a rare poetry that too few have
taken the trouble to contemplate. David Smith, who was as American as Xceron is Greek, and
knew of the world as Xceron does not, once wrote to his painter friend "...You have the pic-
tures and that is not new— you have always made them, and maybe they are too good, too subtle,
too sensitive; but someday the world will catch up with you. Most artists are with you and
that is the greatest level of appreciation . . ."3
letter from David Smith to Xceron, April 22, 1957.
18
WORKS I.\ THE E\HIBITIO\
1. CRUCIFIXION NO. 6. 1917.
Oil on canvas. 11% x 9".
Lent by the artist.
2. ADAM AND EVE NO. 9. 1919.
Oil on canvas, 9% x 7%".
Lent by the artist.
3. LANDSCAPE NO. 36. 1923.
Gouache on board. 15% x 19".
Lent by the artist.
4. CHARTRES NO. Al. 1929.
Watercolor, 18 x 24".
Lent by the artist.
5. VIOLIN NO. 7. Paris. 1931.
Oil on canvas, 27% x 22%".
Lent by Mary Dorros Xceron, New York.
6. PORTRAIT OF THE ARTIST NO. 67. Paris. 1932.
Oil on board, 16 x 13".
Lent by Mary Dorros Xceron, New York.
7. VIOLIN NO. 6E. 1932. _
Oil on canvas, 25% x 31%".
Lent by the artist.
8. PAINTING NO. 70. 1933.
Oil on canvas, 16 x 13%".
Lent by Mary Dorros Xceron, New York.
9. DRAWING. 1935.
Ink. 5% x 9%".
Collection Rose Fried, New York.
10. COMPOSITION NO. 220A. 1936.
Gouache, 30x21%".
Lent by the artist.
11. PAINTING NO. 219. 1936.
Oil on canvas, 18% x 15".
Lent by Mary Dorros Xceron, New York.
12. COMPOSITION NO. 242. 1937.
Oil on canvas, 45% x 31%".
Collection The Solomon R. Guggenheim Museum.
New York.
13. PAINTING NO. 211. 1937.
Oil on canvas, 25% x 21%".
Collection Mr. and Mrs. Edgar B. Miller, Chicago.
14. PAINTING NO. 239. 1938.
Oil on canvas, 58 x 38%".
Lent by the artist.
15. SERIES OF FOURTEEN STUDIES
FOR PAINTINGS NO. 259B. 1939.
Watercolor and ink. 11 x 16%".
Lent by the artist.
16. COMPOSITION NO. 250. 1941.
Oil on board, 21% x 19%".
The Joseph H. Hirshhorn Collection, New York.
17. COMPOSITION NO. 251. 1941.
Oil on canvas, 40 x 30%".
Collection The Solomon R. Guggenheim Museum.
New ^ ork.
18. FRAGMENTS NO. 252. 1941.
Oil on canvas, 26 x 20".
Lent by the artist.
19. WHITE AND GRAY NO. 256. 1941.
Oil on canvas, 30% x 20%".
Collection Mr. and Mrs. Fred Olsen through
The Olsen Foundation. Guilford, Connecticut.
20. PAINTING NO. 260. 1942.
Oil on board, 19 x 19".
Lent by the artist.
21. COMPOSITION NO. 261A. 1943.
Oil on canvas, 40 x 30".
Collection Miss Hilla von Rebay. Greens Farms.
Connecticut.
22. DRAWING AND WATERCOLOR NO. 263A. 1943.
Watercolor and ink, 8 % x 11".
Lent by the artist.
23. DRAWING NO. 251A. 1944.
Ink, 19 x 12%".
Lent by the artist.
24. COMPOSITION NO. 269. 1944.
Oil on canvas, 51 x 45".
Collection The Solomon R. Guggenheim Museum.
New It ork.
25. WHITE FORM NO. 271. 1944.
Oil on canvas, 36 x 30".
Collection The Solomon R. Guggenheim Museum.
New York.
26. COMPOSITION NO. 257. 1945.
Oil on canvas, 19% x 15%".
Collection The Solomon R. Guggenheim Museum,
New York.
27. COMPOSITION NO. 273. 1945.
Oil on canvas, 40 x 32".
Collection Whitney Museum of American Art,
New York. Gift of the Friends of the Whitney Museum.
28. COMPOSITION NO. 275. 1945.
Oil on canvas, 32 x 40".
Collection Mr. and Mrs. Edgar B. Miller. Chicago.
29. PAINTING NO. 293. 1946.
Oil on canvas, 40 x 32".
Collection The Solomon R. Guggenheim Museum,
New York.
19
30. COMPOSITION NO. 325. 1947.
Watercolor, 13 x lOVfe".
Collection Mr. and Mrs. Saul Edelbaum, New York.
31. MULTIFORM NO. 303. 1947.
Oil on canvas, 50 x 40".
Collection The Solomon R. Guggenheim Museum,
New York.
32. RHYTHM NO. 301. 1947.
Oil on canvas, 51 x 42".
Collection The Solomon R. Guggenheim Museum,
New York.
33. COMPOSITION NO. 319. 1948.
Oil on canvas, 42 x 34".
Collection The Solomon R. Guggenheim Museum,
New York.
34. IMAGE NO. 330. 1949.
Oil on canvas, 51 x 42".
Lent by the artist.
35. SOUND NO. 291. 1949.
Oil on canvas, 51 x 42".
Collection Mr. and Mrs. Edgar B. Miller, Chicago.
36. VARIATIONS NO. 329. 1949.
Oil on canvas, 50 x 42".
Mr. and Mrs. Walter Nelson Pharr, New York.
37. BEYOND WHITE. 1950.
Oil on canvas, 50% x 40 Vs".
Collection Krannert Art Museum.
University of Illinois, Champaign.
44. CIRCLE NO. 515A. 1960.
Watercolor, 8% x 11 Vz" .
Collection Mr. and Mrs. George Phillips, Jr., Chicago.
45. COMPOSITION 8, NO. 432. 1960.
Oil on canvas, 70 x 42".
Lent by Rose Fried Gallery, New York.
46. PAINTING NO. 430. 1960.
Oil on canvas, 40 x 51".
Lent by Rose Fried Gallery, New York.
47. PAINTING 7, NO. 438. 1961.
Oil on canvas, 70 x 41".
Lent by Rose Fried Gallery, New York.
48. PAINTING 9, NO. 435. 1961.
Oil on canvas, 36 x 48"
Lent by Mary Dorros Xceron, New York.
49. PAINTING 11, NO. 436. 1961.
Oil on canvas, 33 x 45".
Private Collection, New York.
50. DRAWING NO. 3. 1962.
Ink, 11 x 8%".
Lent by the artist.
51. LANDSCAPE NO. 38. 1962.
Watercolor, 12 x 17 W.
Lent by the artist.
52. PAGEANT NO. 558A. 1962.
Watercolor, 22 x 31".
Collection Miss May Walter, New York.
38. TWO CIRCLES NO. 338. 1951.
Gouache, 22% x 15".
Collection Mr. and Mrs. Norman Belgrade, Chicago.
53. SOURCE NO. 445. 1962.
Oil on canvas, 33 x 27".
Lent by the artist.
39. PAINTING NO. 341A. 1951.
Oil on canvas. 30 x 24".
Collection Denis E. Paddock, New York.
40. IKON NO. 386. 1954.
Oil on canvas, 34% x 227/s".
Collection The Solomon R. Guggenheim Museum,
New York.
54. U FORM NO. 553A. 1962.
Watercolor, 31 x 22".
Collection Lawrence Bloedel, Williamstown,
Massachusetts.
55. CARYATIDES 27, NO. 452. 1963.
Oil on canvas, 40 x 51".
Lent by the artist.
41. FIGURE NO. 389A. 1955.
Watercolor, 30% x 221A'\
Lent by the artist.
56. FIGURES 24, NO. 449. 1963.
Oil on canvas, 40 x 50".
Lent by the artist.
42. PAINTING 9, NO. 424. 1958.
Oil on canvas, 42 x 70".
Lent by the artist.
43. PAINTING NO. 426. 1959.
Oil on canvas, 37 x 48".
Lent by Rose Fried Gallery, New York.
57. SOUND 21, NO. 446. 1963.
Oil on canvas, 23 x 27".
Lent by the artist.
58. MORPHES NO. 457. 1964.
Oil on canvas, 40 x 51".
Lent by the artist.
12
13
DO
\c
17
-WttSUi
-.'■■ :■:■:■■■■■-■'
/•,•'.-..•• ■:■'■■■■■■:■
ttHPBBll
vvtKS-n
■,;;..-■■
■■'/'■ ;:
14
16
18
19
21
24
25
26
28
31
33
36
35
34
at
40
41
/
t
1
f 1
42
43
46
45
47
43
53
49
50
52
55
SELECTED BIBLIOGRAPHY \ V 1) EXHIBITION LIST
WRITINGS BY XCEROX
Chicago Tribune, Paris, p. 4: "J. Torres-Garcia", April 6, 1929.
"Van Doesburg", April 28, 1929. "Jean Helion", June 5, 1929.
"Tal-Coat", June 15, 1929. "Otto Van Rees", June 23, 1929.
"Emile Rozier", June 29, 1929. "Georges Vantongerloo", July 5, 1929.
"Hans Arp", July 20, 1929. "John D. Graham", July 24, 1929.
"V de Rego Monteiro", July 27, 1929. "Mme. Tauber Arp", August 7, 1929.
"Piet Mondrian", August 12, 1929. "J. A. Czaky", September 19, 1929.
"E. Teriade", October 8, 1929. "Leopold Zborowsky", October 26, 1929.
"Maurice Raynal", October 31, 1929. "Adolphe Basler", December 5, 1929.
"Creixams", December 8, 1929. "Chil Aronson", December 22, 1929.
"Max Berger", December 26, 1929. "Andre Salmon", January 2, 1930.
"Natalie Gontcharova", March 17, 1930. "Waldemar George", April 12, 1930.
"Andre Beaudin", July 2, 1930. "Menkes", July 25, 1930.
"H. Berlewi", July 26, 1930. "Christian Zervos", August 27, 1930.
"Michel Larionow", September 8, 1930. "Fernand Leger", November 30, 1930.
Boston Transcript, Boston: "Contemporary Sculpture in Italian Art", January 18, 1930.
"Independants Fill the Grand Palais", February 15, 1930, p. 8.
"Contemporary Decoration at the Musee des Arts Decoratifs", April 18. 1930, p. 7.
"Societe des Artistes Francais", May 28. 1930.
"Artists and Fine Art Exhibitions", June 25, 1930, p. 12.
"Exhibition Salon des Tuileries", August 23, 1930, p. 8.
Statement, Cercle et Carre, Paris, no. 2, April 15. 1930, n.p.
"Neo-Plasticisme or Elementarist Art", The New Review, Paris, vol. 1, no. 4,
Winter 1931-32, pp. 316-319.
Comment, Radio Magazine, New York, January 1952, p. 3.
"Portrait of Dr. Demetrios Callimachos" and "Portrait of Nicolas G. Lely".
Athene, Chicago, vol. 15, no. 3. Autumn 1954, pp. 13, 16.
I M»l Itl.lMlllt >I\MM IS
"Radar", 1948.
"Notes on My Painting", February 1952.
ARTICLES ON XCERON
53
politis, Michael. "0 Jean Xceron Ke Ei Apoliti Techni",
Neoelinka Gramata, Athens, July 15, 1939.
sivilla. "Ei Techni Too Jean Xceron", Atlantis, New York,
June 20, 1947.
cianakoulis, Theodore. "Contributors to American Cul-
ture: Jean Xceron", Athene, Chicago, vol. 8, no. 3. Autumn
1947, pp. 14-16.
"Radar: A Non-Objective painter tries to marry science
and art on canvas", Life, New York, vol. 24, no. 5, Febru-
ary 2, 1948, p. 69.
argyris, vasos. "Jean Xceron", The National Herald, New
York, November 27, 1948. Appeared in Greek in Vima
Gapa, Pittsburgh, vol. 14, no. 5, August-September 1949,
pp. 9-20.
visvardis, JOHN. "Around our Painters: Jean Xceron",
Eptanisos, New York, vol. 2, no. 6, September 1950, p. 3.
procopiou, A. G. "Ei Techni Too Jean Xceron", Kathime-
rini, Athens, September 29, 1953. English translation, "The
Art of Jean Xceron", The National Herald, New York,
June 17, 1954.
kasak, n. "Jean Xceron", Numero, Florence, vol. 5, no. 6,
November-December 1953, p. 20.
ashton, dore. "Jean Xceron", XXe Steele, Paris, vol. 23,
no. 16, May 1961, section Chroniques da Jour, n.p.
granitsas, spyridon. "Xceron", Eikones, Athens, vol. 2,
no. 380, February 4, 1963, pp. 34-35. English translation,
Art Voices, New York, vol. 2, no. 3, March 1963, p. 11. Also
appeared in The National Herald, New York, April 14, 1963.
bethers, ray. How Paintings Happen, New York, W. W.
Norton & Co., 1951, p. 143.
gomez-sicre, jose. Guia de las Colecciones Publicas de
Arte en los Estados Unidos, Washington, D.C., Union Pan
Americana, 1951, vol. 1, p. 138.
Phillips, duncan. The Phillips Collection Catalogue, Wash-
ington, D.C., The Phillips Collection, 1952, p. 139.
lebel, Robert, ed. Premier Bilan de V Art Actuel, 1937-
1953, Paris, Cahiers Trimestriels, 1953, p. 22.
bene'zit, e. Dictionnaire Critique et Documentaire des Pein-
tres, Sculpteurs, Dessinateurs et Graveurs, Paris, Librairie
Grund, 1955, vol. 8, p. 819.
pousette-dart, Nathaniel, ed. American Painting Today,
New York, Hastings House, 1956, ill. p. 93.
seuphor, michel. Piet Mondrian, New York, Harry N.
Abrams, 1956, pp. 174, 190.
The World of Abstract Art, New York, George Wittenborn,
Inc., 1957, pp. 105, 140, 160, ill. pp. 42, 145. Edited by the
American Abstract Artists.
seuphor, michel. Dictionary of Abstract Painting, New
York, Tudor Publishing Co., 1957, p. 292.
A Handbook to The Solomon R. Guggenheim Museum
Collection, New York, The Solomon R. Guggenheim Mu-
seum, 1959, p. 178.
procopiou, angelo. Esthitiki Ke Techni Stin Ameriki,
Athens, Nees Morphes, 1961, pp. 119, 120, pi. 30.
BOOKS
MISCELLANEOUS
aronson, chil. Artistes Americaines Modernes de Paris,
Paris, Editions Le Triangle, 1932, p. 18, ill. pp. 128, 129.
edouard-joseph, rene. Dictionnaire Biographique des Ar-
tistes Contemporains, Paris, Librarie Grund, 1934, vol. 3,
p. 443.
felshin, max. Leaves of Life, New York, The Book Guild,
1936, p. 19. Poem entitled Xceron.
graham, john d. Systems and Dialectics of Art, New York,
Delphic Studios, 1937, p. 153.
bear, donald j. American Art Today, New York, National
Art Society, 1939, pp. 22-23.
A. E. Gallatin Collection, New York, Museum of Living-
Art, New York University, 1940. "Notes on Artists" by
George L. K. Morris, p. 153.
barr, Alfred h. Painting and Sculpture in The Museum
of Modern Art, New York, The Museum of Modern Art,
1942, pp. 12, 14, 80.
kootz, samuel m. New Frontiers in American Painting,
New York, Hastings House, 1943, pp. 52, 65, pi. 89.
American Abstract Artists, New York, The Ram Press,
1946. Introduction by George L. K. Morris, ill., n.p.
thieme. ulrich and becker, felix. Allgemeines Lexikon
der bildenden Kiinstler, Leipzig, Seeman Verlag, 1947,
vol. 36, p. 342.
read, Herbert. Art Now, London, Faber & Faber, 1948,
pi. 46.
meyers, Bernard s. Modern Art in the Making, New York,
McGraw Hill, 1950, p. 395.
"Under Museum Banners", The New York Times, New
York, December 26, 1937. On the permanent collection at
the Museum of Living Art, New York University.
sweeney, james johnson. "L'Art Contemporain aux
Etats-Unis", Cahiers d'Art, Paris, vol. 13, nos. 1-2. 1938,
pp. 43-52.
michalaros, demetrios, a. "Contemporary Greek Art",
Athene, Chicago, vol. 2, no. 12, December 1941, p. 22.
"The Holbrook Collection", Georgia Cracker, Athens, Uni-
versity of Georgia, vol. 1, no. 4, January 1947, p. 15.
"Exposition des Peintres Americains a Paris", Cahiers
d'Art, Paris, vol. 22, 1947, p. 330, ill., p. 326.
"Five Greek-American Painters", Athene, Chicago, vol. 11,
no. 2, September 1950, pp. 16, 21.
seuphor, michel. "Paris-New York 1951", Art d'Au-
jourd'hui, Paris, vol. 2, no. 6, June 1951, pp. 2, 10, 11.
flexor, sanson. "Quatro Pintores Abstractos de Nova
Iorque", Habitat, Sao Paulo, vol. 7, no. 42, May-June 1957,
pp. 30-31.
h[ess], t[homas] b. "Editorial: Innocents to Brussels",
Art News, New York, vol. 57, no. 1, March 1958, p. 23.
tillim, Sidney. "What Happened to Geometry?", Arts,
New York, vol. 33, no. 9, June 1959, p. 40.
smith, david. "Notes on My Work", Arts, New York, vol.
34, no. 5, February 1960, p. 44.
brown, Gordon. "International Art Trends, U.S.A.: the
Purists", Art Voices, New York, vol. 2, no. 5, May 1963,
p. 18.
ONE MAN EXHIBITIONS
54
Xceron, Galerie de France, Paris, December 1-18, 1931.
Reviews: A. w. Comoedia, Paris, December 2, 1931.
r[aynal], m[aurice]. "On Expose: Oeuvres de
Xceron", L'lntransigeant, Paris, December 6,
1931.
"Works of Greco-American Painter being shown
at Galerie de France", Chicago Tribune, Paris,
December 6, 1931.
clar, fanny. "Les Arts: Art Hermetique ou le
casse-tete pictural". Le Soir, Paris, December
10, 1931.
"Art Notes", The New York Herald, Paris. De-
cember 14, 1931.
salmon, andre'. "Que pense-t-il de l'exposition
Xceron", Gringoire, Paris, December 25, 1931.
heilmaier, h. "Galerie de France: Xceron",
Neue Pariser Zeitung, Neuilly, December 26.
1931.
zervos, christian. "Les Exposition a Paris et
Ailleurs: Xceron. Peintures", Cahiers d'Art,
Paris, vol. 6, nos. 9-10, 1931, p. 451.
fierens, PAUL. Le Journal de Debats. Paris. Feb-
ruary 21, 1932.
Xceron, Galerie Percier, Paris, May 11-25, 1933.
Reviews: t[e'riade], e. "On Expose: Exposition Xceron",
L'lntransigeant, Paris, May 15, 1933.
"Xceron's Exhibit is held over at Galerie Per-
cier", Chicago Tribune, Paris, May 18, 1933.
p. 14.
"De la Peinture Pure", Cri de Paris, Paris, May
20, 1933.
zervos, christian. "Les Expositions a Paris et
Ailleurs: Xceron", Cahiers d'Art, Paris, vol. 8,
nos. 5-6, 1933, pp. 250-251.
Xceron, Galerie Pierre, Paris, July 2-10, 1934.
Reviews: "Works of Xceron Reveal Enthusiast of Pure
Design", Chicago Tribune, Paris, July 4, 1934.
devau, charles. "Xceron", Beaux-Arts, Paris,
no. 79, July 27, 1934.
La Semaine de Paris, Paris, July 13-19, 1934.
salmon, andre. "Les Arts", Gringoire, Paris,
July 27, 1934.
fierens, paul. Journal des Debats, July 22, 1934.
zervos, christian. "Les Expositions a Paris et
Ailleurs: Xceron", Cahiers d'Art, Paris, vol. 9,
nos. 5-8, 1934, p. 205.
Xceron, Garland Gallery, New York, March 22-May 1, 1935.
Reviews: burrows, carlyle. "A Modern Frenchman",
New York Herald Tribune, New York, March
31, 1935.
devree, Howard. "French Abstraction", The
New York Times, New York, March 31, 1935.
offin, charles z. "Another New Gallery and
M. Xceron", Brooklyn Daily Eagle, Brooklyn.
March 31, 1935.
breuning, Margaret. "Garland Gallery", New
York Post, New York, April 6, 1935.
mcbride, henry. New York Sun, New York.
April 6, 1935.
M. M. "Xceron", Art News, New York, vol. 33,
no. 27, April 6, 1935, p. 14.
godsoe, robert ulrich. "The Art Marts", News-
day, Garden City, Long Island, April 11, 1935.
Xceron: Recent Paintings, Nierendorf Gallery, New York,
opening April 13, 1938.
Reviews: klein, jerome. New York Post, New York,
April 23, 1938.
M. d. "Abstractions by Jean Xceron, Greek-
American Artist", Art News, New York, vol. 36.
no. 31, April 30, 1938, p. 11.
burrows, carlyle. "Purist Abstractions", New
York Herald Tribune, New York, May 1, 1938.
jewell, E. A. "Abstractions by Two", The New
York Times, New York, May 1, 1938.
nicolaides, n. "Ney Kalitechniki Orizontes Ta
Sphighodi DimiourgimataTis AphirimenisTech-
nis, Neon Phos Apo Tin Zographikin Too Jean
Xceron", National Herald, New York, May 7,
1938.
bird, p. "The Fortnight in New York", Art
Digest, New York, vol. 12, no. 16, May 15, 1938,
p. 18.
Xceron, Bennington College, Bennington, Vermont, Octo-
ber 1-14, 1944.
Radar Painting by Xceron, Knoedler Gallery, New York,
September, 1946.
Xceron, a retrospective exhibition organized by Raymond
Jonson, traveled to:
Museum of New Mexico, Santa Fe, October 6-27, 1948.
Reviews: "Xceron Paintings Exhibited at State Art Gal-
lery", Santa Fe New Mexican, Santa Fe, Octo-
ber 14, 1948.
D. K. "Erga Too Xceron Tha Ektethoun Is
Mouseia Ditikon Polition", Atlantis, New York,
November 5, 1948.
University of New Mexico, Albuquerque, November 4-17,
1948.
Review: "Out-of-Town Show at UNM Gallery: Jean
Xceron Paintings Hung", Albuquerque Journal.
Albuquerque, November 10, 1948.
Carlsbad Library Museum, Carlsbad, New Mexico, Decem-
ber 1-15, 1948.
Revieiv: "Roderick Mead gives Gallery Talk at Opening
of Xceron Show Today", Carlsbad Argus, Carls-
bad, December 5, 1948.
Art Gallery, UCLA, Los Angeles, January 24-February
14, 1949.
Revieiv: millier, Arthur. "The Arts", Los Angeles Times,
Los Angeles, February 6, 1949.
Art Center of La Jolla, March 1-31, 1949.
Review: klapp, freda l. "Current Art Exhibition Impres-
sive", La Jolla Light, La Jolla, March 17, 1949.
Santa Barbara Museum, April 12-28, 1949.
Review: d. b. Santa Barbara, Santa Barbara, April 3, 1949.
University of Washington, Seattle, July 6-31, 1949.
Review: University Herald, Seattle, July 7, 1949.
Xceron, Sidney Janis Gallery, New York, June 12-24, 1950.
Reviews: louchheim, aline b. "Among the New Shows".
The New York Times, New York, June 18, 1950.
chanin, a. l. "World of Art", The Sunday Com-
pass, New York, June 25, 1950.
adlow, dorothy. "Summer Activity— and Lack
of It", The Christian Science Monitor, Boston,
July 1, 1950.
55
k[rasne], b[elle]. "Fifty-Seventh Street in
Review: Xceron lines up Form", Art Digest,
New York, vol. 24, no. 18, July 1, 1950, p. 19.
burrows, carlyle. "Summer Art— Here and in
the Colonies", New York Herald Tribune, New
York, July 2, 1950.
visvardis, John. Eptanisos, New York, vol. 3,
no. 4, July 1950, p. 4.
l[a] f[arge], h. "Jean Xceron's", Art News,
New York, vol. 49, no. 5, September 1950, p. 46.
pesketzi, tzina. "Xeni Pnevmatiki Zoi Ino-
menes Polities Enas Zografos Apo Tin Elada",
Nea Estia, Athens, September 1950, p. 1398.
Xceron: New Paintings, Rose Fried Gallery, New York,
March 7-26, 1955.
Reviews: estet. The National Herald, New York, March
3, 1955.
p[reston], s[tuart]. The New York Times,
New York, March 12, 1955.
g[eorge], l[averne]. "Jean Xceron", Art Di-
gest, New York, vol. 29, no. 12. March 15, 1955,
p. 26.
g[enauer], e[mily]. "New Works by Xceron",
New York Herald Tribune, New York, March
19, 1955.
h[ess], t[homas] b. "Jean Xceron", Art News,
New York, vol. 54, no. 1, March 1955, p. 51.
vasileiou, p. "Jean Xceron", Ethnos, Athens,
June 5, 1955.
Xceron: Exhibition of Paintings 1956-1957, Rose Fried
Gallery, New York, April 16-May 31, 1957.
Reviews: preston, stuart. The New York Times, New
York, April 20, 1957, p. 9.
burrows, carlyle. "Art on View", New York
Herald Tribune, New York, April 21, 1957.
s[chuyler], j[ames]. "Jean Xceron", Art
News, New York, vol. 56, no. 2, April 1957, p. 11.
b[arry], j. g. "Jean Xceron", Pictures on Ex-
hibit, New York, vol. 20, May 1957, pp. 19-20.
m[ellow], j[ames] r. "Jean Xceron", Arts,
New York, vol. 31, no. 5, May 1957, p. 52.
Xceron, Newcomb College, Tulane University, New Or-
leans, October 15-November 4, 1957. Organized by George
Rickey.
Reviews: Atlantis, New York, November 8, 1957.
lamprakis. Nea, Athens, vol. 13, no. 3852, De-
cember 10, 1957.
Xceron: Recent Paintings, Rose Fried Gallery, New York,
April 19-May 7, 1961.
Reviews: preston, stuart. "International Set", The New
York Times, New York, April 24, 1960.
g[enauer], e[mily]. "Xceron Show", New York
Herald Tribune, New York, May 1, 1960.
hadjipetros, a. The National Herald, New York,
May 3, 1960.
butler, Barbara. "Contemporary Classicism",
Art International, Zurich, vol. 4, no. 5, May 25,
1960, pp. 39-40.
s[andler], i[rving] h. "6 for May: Xceron",
Art News, New York, vol. 59, no. 3, May 1960.
pp. 40, 50.
s [tiles], g. "Gallery Previews in NewYork:
Jean Xceron", Pictures on Exhibit, New York,
vol. 27, no. 8, May 1960, p. 20.
mellow, james r. "Jean Xceron at Seventy",
Arts, New York, vol. 34, no. 9, June 1960, pp.
30-33.
Xceron, Rose Fried Gallery, New York, May 16-June 30,
1961. Watercolor exhibition.
Reviews: preston, stuart. "Recent Watercolors", The
New York Times, New York, May 20, 1961.
G [enauer] , e [mily] . "The Lively Arts : Xceron",
New York Herald Tribune, New York, May 27,
1961.
levick, l. e. "Gallery Guide", New York Journal
American, New York, May 27, 1961.
dolbin,b.f. "Ausstellungen: Jean Xceron". Auf-
bau, New York, June 2, 1961.
p[ease], r[oland] f., jr. "Jean Xceron", Pic-
tures on Exhibit, New York, vol. 22, no. 9, June
1961.
ziogas, e. Krikos, London, vol. 12, no. 126, June
1961, p. 21.
ashton, dore. "Other Exhibitions", Arts and
Architecture, Los Angeles, vol. 78, July 1961,
pp. 5, 29.
c[ampbell], l[awrence]. "Jean Xceron", Art
News, New York, vol. 60, no. 4, Summer 1961,
p. 12.
raynor, vivien. "In the Galleries: Xceron", Arts
Magazine, New York, vol. 35, no. 10, September
1961, p. 40.
Xceron: Selection of Paintings 1929-1962, Rose Fried Gal-
lery, New York, April 16-May 19, 1962.
Reviews: levick, l. e. "Art and Artists: Abstract Show
Offers Realist 'Fringe Benefits' ", New York
Journal American, New York, section 7, April
21, 1962.
preston, stuart. "Painting by Xceron", The
New York Times, New York, April 21, 1962.
Christy, george. "City Lights", The National
Herald, New York, April 22, 1962.
sandler, irving H. "In the Art Galleries", New
York Post, New York, April 29, 1962.
s[andler], i[rving] h. "Jean Xceron", Art
News, New York, vol. 61, no. 2, April 1962, p. 11.
p[ease], r[oland] f., jr. "Gallery Previews:
Xceron at Rose Fried", Pictures on Exhibit, New
York, vol. 25, no. 8, May 1962, pp. 22-23.
Xceron: Exhibition of Recent Paintings, Rose Fried Gal-
lery, New York, April 3-May 2, 1963.
Reviews: "Jean Xceron", New York Herald Tribune, New
York, April 6, 1963.
preston, stuart. "Jean Xceron", The New York
Times, New York, April 13, 1963, p. 16.
"Xceron at Fried", Manhattan East, New York,
April 18, 1963.
levick, l. e. New York Journal American, New
York, April 20, 1963.
de knight, avel. "Jean Xceron chez Rose Fried",
F ranee- Amerique, New York, April 28, 1963,
p. 19.
l[onngren], l[illian]. "Jean Xceron", Art
News, New York, vol. 62, no. 3, May 1963, p. 14.
r[oss], f[elice] t. "Gallery Previews in New
York: Jean Xceron", Pictures on Exhibit, New
York, vol. 26, no. 8, May 1963, p. 16.
raynor, vivien. "In the Galleries : Jean Xceron",
Arts Magazine, New York, vol. 37, May-June
1963, p. 112.
56
Jean Xceron -.Recent Paintings, Goldwach Gallery, Chi-
cago, November 12-December 15, 1963.
Review: "The Art World: New Exhibits Here Offer Va-
riety". Chicago American, Chicago. November
17, 1963.
Xceron: Recent Oils, Watercolors and Drawings, Rose
Fried Gallery, New York, April 22-May 23, 1964.
Reviews: genauer, emily. "The Galleries: Jean Xceron",
New York Herald Tribune, New York. April 25.
1964.
o'doherty, brian. "Xceron", The New York
Times, New York, May 2, 1964.
"Art in New York", Time, New York, May 8,
1964.
Roberts, colette. "Xceron chez Rose Fried".
France-Amerique, New York, May 10, 1964.
Johnson, marguerite. "Art in New York".
Time, New York, May 15, 1964.
marketos. b. j. "Xceron", The National Herald,
New York, May 20, 1964.
dolbin, b. f. "Xceron", Aufbau, New York, May
22, 1964.
B[ROWN],G[oRDON]."Jean Xceron", Art Voices,
New York, vol. 3, no. 5, June 1964, p. 9.
r[oss], f[elice] t. "Gallery Previews in New
York: Jean Xceron", Pictures on Exhibit, New
York, vol. 27, no. 9, June 1964, p. 16.
tillim, Sidney. "Xceron", Arts Magazine, New
York, vol. 38, no. 10, September 1964, p. 66.
GROll' EXHIBITIONS
Ecole de Paris, Galerie Dalmau. Barcelona. December
1929.
Review: faigairolle, a. de. "Asphalte. 6 tableau sonore
derriere lequel il retentit quelque chose", L'ln-
transigeant, Paris, December 6. 1929.
Greek Artists in Paris, Zappeion, Athens, November-De-
cember 1930.
Contemporary French Painters, Arts and Crafts Club.
New Orleans, March-April 1931. Catalogue by E. Teriade.
Exposition Artistes Americains de Paris, Galerie de la
Renaissance, Paris, January 18-February 6, 1932. Cata-
logue preface by Chil Aronson.
Review: teriade, e. "Les artistes Americains", L'lntran-
sigeant, Paris, January 25, 1932.
Collection des Cahiers d'Art, Hotel Drouot, Paris, auc-
tion April 12, 1933. Catalogue: Moniteur des Ventes.
Revista Anual do Salao de Maio, Mayo Gallery, Sao
Paulo, opening May 11, 1939. Catalogue introduction by
Flavio Carvallio.
Art of Tomorrow, Museum of Non-Objective Painting,
New York, opening June 1, 1939. Catalogue introduction
by Hilla Rebay.
Review: M.u. "Art of Tomorrow: Guggenheim Non-Ob-
jective Painting on View in New Gallery", New
York Sun, New York, June 10, 1939.
Oeuvres des artistes apres 1920. Galerie Charpentier,
Paris, July 17-31, 1939. 2nd exhibtion of Salon des Reali-
tes Nouvelles.
Golden Gate Exposition of Contemporary American Paint-
ing, Palace of Fine Arts, San Francisco, March-December
2, 1939. Group loan from the Museum of Non-Objective
Painting, New York.
Review: morley, g. l. "San Francisco presents One Man's
Opinion of Living American Art", Art Digest,
New York, vol. 13, no. 12, March 15, 1939, pp.
27-32; addendum: "Living Americans", pp. 45-
46.
American Art Today, United States Pavilion, New York
World's Fair, opening September 28, 1939. Catalogue in-
troduction by flolger Cahill.
Review: bear, d. "American Art Todav", Art Digest, New
York, vol. 13, no. 17, June 1, 1939, pp. 20-25, 33.
Exhibition of Contemporary Greek and Greek-American
Art, Greek Pavilion, New York World's Fair, opening
August 25, 1939.
Group Exhibition, Pinacotheca Gallery, New York, Octo-
ber 15-November 1, 1940.
Art Auction for Aid to Greece, Barbizon Plaza Hotel
Galleries, New York, December 22, 1940. Sponsored by
Greek War Relief Association.
Contemporary American Artists, R. H. Macy's Company,
New York, opening January 6, 1942. Exhibition organized
by Samuel Kootz.
Artists of the United Nations, National Arts Club Gal-
leries, New York, February 4-March 1, 1942.
Masters of Abstract Art, New Art Center, New York,
April 1-May 15, 1942. Catalogue foreword by Stephen C.
Lion. Helena Rubenstein's Gallery.
Third Group Show Commemorating the Fifth Anniversary
of the Solomon R. Guggenheim Foundation, Museum of
Non-Objective Painting, New York, June 25-October
1. 1942.
Review: "American Non-Objective Painting Reviewed".
Art Digest, New York, vol. 16, no. 19. August
1, 1942, p. 12.
Art as Exhibited from 1922 to 1942, Nierendorf Gallery,
New York, opening December 8, 1942.
American Modern Artists, Riverside Museum, New York.
January 17-February 27, 1943.
Benefit of Greek War Relief, Marquie Gallery, New York,
June' 15-30, 1943.
Exhibition of Sculpture and, Drawings, Chinese Gallery.
New York, December 7-30, 1944. Organized by Federation
of Modern Painters and Sculptors.
1st Biennial Exhibition of Drawings by American Artists,
Los Angeles County Museum, February 18-April 22, 1945.
Contemporary American Painting, California Palace of
the Legion of Honor, San Francisco Museum, May 17-June
17, 1945. Catalogue introduction by Jermayne MacAgy.
57
Group Exhibition, Pinacotheca Gallery, New York, May
25-June 16, 1945.
Portrait of America: 2nd Annual Artists for Victory,
Rockefeller Center, New York, November 1945. Organized
by Pepsi-Cola Company.
Cubist and Non-Objective Paintings, John Herron Art
Museum, Indianapolis, December 29, 1946-February 2,
1947.
121st Annual Exhibition, National Academy of Design,
New York, January 4-22, 1947.
3rd Summer Exhibition of Contemporary Art, State Uni-
versity of Iowa, Iowa City, June 15-30, 1947.
Zeitgeniissische Kunst und Kunstpflege in U.S.A., Kun-
sthaus, Zurich, October-November 1947. Catalogue intro-
duction by W Wartmann, essay by Hilla Rebay.
Exhibition, Columbus Gallery of Fine Arts, Ohio, Febru-
ary 26-March 28, 1948.
Art Americain Contemporain, Galerie Georges Giroux,
Brussels, March 20-April 10, 1948. Catalogue biographical
note on Xceron by Alonzo Lansford.
The Eva Underhill Holbrook Memorial Collection,
Museum of Fine'" Arts, University of Georgia, Athens,
1948. Catalogue foreword by Harmon Caldwell.
Artists for Neighborhood Art, Sidney Janis Gallery and
Betty Parsons Gallery, New York, auction February
12, 1949.
Contemporary American Painting, Morse Gallery of Art,
Rollins College, Winter Park, Florida, March 1949. Organ-
ized by Ferargil Gallery, New York.
10th Anniversary Exhibition, Museum of Non-Objective
Painting, New York, May 31-September 1949.
Group Exhibition, Lotos Club, New York, to March 5,
1950. Organized by Federation of Modern Painters and
Sculptors.
Contemporary American Paintings, John Herron Art
Museum, Indianapolis, January 7-February 4, 1951.
The Evolution in Painting from 1900 to 1952, Museum of
Non-Objective Painting, New York, opening April 29, 1952.
Mostra Fondazione Solomon R. Guggenheim, Fondazione
Origine, Rome, January 24-February 20, 1953.
The Classic Tradition in Contemporary Art, Walker Art
Center, Minneapolis, April 24-June 28, 1953. Catalogue
introduction by H. H. Arnason; summary, Art Digest,
New York, vol. 27, no. 13, April 1, 1953, p. 7.
Celebrity Art Show: Exhibition and Sale, Delmonico
Hotel, New York, March 19, 1954.
The Greek Earthquake Appeal, Sotheby Gallery, London,
October 4-6, 1954. Auction.
Nebraska Art Association: 65th Annual Exhibition, Joslyn
Art Museum, Omaha, April 10-May 10, 1955.
Museum of Modern Art, Tokyo, 1955. American Abstract
Artists exhibition.
International Collage Exhibition, Rose Fried Gallery, New
York, February 13-March 17, 1956.
Seven-man Exhibition, Rose Fried Gallery, New York.
May 31-July 1, 1956.
Presented by the Georgians, Yale University Art Gallery,
New Haven, February 27-March 13, 1957.
The Sphere of Mondrian, Contemporary Arts Museum,
Houston, February 27-March 24, 1957.
Trends in Watercolor Today, The Brooklyn Museum, New
York, April 9-May 26, 1957.
Silverrnine Guild of Artists, Silvermine School, New
Canaan, September 26-October 25, 1957.
20th Century Works of Art, University of Illinois, Urbana,
September 29-October 27, 1957. Catalogue foreword by
Allan S. Weller.
Collage in America, Zabriskie Gallery. New York, Decem-
ber 1957.
Exhibition and Sale: American and European Artists,
Treatment Center, New York Psychoanalytic Institute,
New York, January 17-19, 1958.
Dedication Exhibition, Georgia Museum of Art, Univer-
sity of Georgia, Athens, January 28-February 28, 1958.
The University of Illinois Collection of Twentieth Century
Painting, School of Art, Syracuse University, November-
30-December 29, 1959.
20th Century Art Exhibition and Sale, Post Graduate
Center for Psychotherapy, New York, January 18-23, 1960.
The Current Scene: American Painting and Pure Abstrac-
tion, The Classic Image, Esther Stuttman Gallery, New
York, November 8-December 3, 1960.
Dedication Exhibition, Krannert Art Museum, University
of Illinois, Urbana, May 20-June 1961.
International Avant Garde, Art Association of Newport,
Rhode Island, July 15-30, 1961. Organized by Rose Fried
Gallery, New York.
Contemporary Painting, Yale University Art Gallery, New
Haven, December 7, 1961-February 4, 1962.
Exposition International du Constructivisme, Musee d'Art
Moderne de Ceret, France, opening September 8, 1962.
Recent American Drawings, Louis Alexander Gallery,
New York, September 25-October 13, 1962.
Cezanne and Structure in Modern Painting, The Solomon
R. Guggenheim Museum, June 2-October 13, 1963.
Review of the Season 1962-1963, Parke-Bernet Galleries,
New York, June 18-July 27, 1963. Organized by Art Deal-
ers Association of America.
The Classic Spirit in 20th Century Art, Sidney Janis Gal-
lery, New York, February 2-29, 1964.
Review: kelly, edward. "Humanism in Geometric Art",
Art Voices, New York, vol. 3, no. 3, March 1964,
pp. 23-24.
Exhibition of Paintings and Sculpture, Riverside Museum,
New York, May 3-August 2, 1964.
Society for Contemporary American Art: 24th Annual
Exhibition, Chicago Art Institute, May 3-31, 1964.
American Art Today, New York Pavilion of Fine Arts,
World's Fair, New York, June 22-October 22, 1964.
West Side Artists: New York City, Riverside Museum,
New York, September 27-November 8. 1964.
Abstraction, Expressionism, Abstract-Expressionism, In-
ternational Gallery. Baltimore, October 14- November 7,
1964.
Rickey Collection, Albany Institute of History and Art,
New York, March 12-April 4, 1965. Catalogue note by
George Rickey.
Artists for Core, Graham Gallery. New York, April 29-
May 8, 1965.
58
CROUP EXHIBITIONS: Recurring and Traveling
AMERICAN ABSTRACT ARTISTS
4th Annual Exhibition, Galerie St. Etienne, New York,
May 22-June 12, 1940. Catalogue introduction by George
L. K. Morris.
5th Annual Exhibition, Riverside Museum, New York,
February 9-23, 1941.
6th Annual Exhibition, American Fine Arts Gallery. New
York, March 9-23, 1942.
7th Annual Exhibition, Riverside Museum, New York,
March 16-April 25, 1943.
9th Annual Exhibition, Riverside Museum, New York,
March 11-April 15, 1945.
10th Annual Exhibition, American-British Art Center,
New York, March 25-April 13, 1946.
18th Annual Exhibition, Riverside Museum, New York,
March 7-28, 1954.
20th Annual Exhibition, Riverside Museum, New York,
April 8-May 20, 1956.
21st Annual Exhibition, Riverside Museum, New York,
April 22-May 11, 1957.
22nd Annual Exhibition, Riverside Museum, New York.
March 2-30, 1958.
24th Annual Exhibition, Riverside Museum, New York,
February 28-March 27, 1960.
25th Annual Exhibition, Lever House, New York, April
3-21, 1961.
26th Annual Exhibition, IBM Gallery, New York, Febru-
ary 5-24, 1962.
27th Annual Exhibition, East Hampton Gallery, New
York, May 7-June 1, 1963.
29th Annual Exhibition, Riverside Museum, New York,
March 9-April 24, 1965.
AMERICAN FEDERATION OF ARTS
Exhibitions circulating in United States:
Contemporary Trends, 1954. Organized by the Federation
of Modern Painters and Sculptors.
Purist Painting, 1960-1961.
Elements of Modern Art II, February-May 1965. Organ-
ized by The Solomon R. Guggenheim Museum.
CARNEGIE INSTITUTE, Pittsburgh
Directions in American Painting, October 23-December
14, 1941.
Reviews: "Carnegie Institute Exhibition Opens",
Athene, Chicago, vol. 2, no. 10, October 1941,
pp. 5, 17.
gaul, harvey. "Directions in American Paint-
ing", Musical Forecast, Pittsburgh, vol. 41, no.
3, November 1941, pp. 5-10.
Painting in the United States:
October-November 1942;
October 14-December 12, 1943;
Review: b[oswell], p[eyton] jr. "Carnegie Presents
Cross-Section of Painting in the United States",
Art Digest, New York, vol. 18, no. 2, October 15,
1943, pp. 5-6, 30.
October 12-December 10, 1944.
Review: riley, m. "Carnegie Institute Opens Exciting
Survey of American Painting", Art Digest, New
York, vol. 19, no. 2, October 15, 1944, pp. 5-6, 26.
October 10-December 8, 1946 ;
October 9-December 7, 1947;
October 14-December 12, 1948;
Review: breuning, Margaret. "Carnegie Opens Its Fifth
Survey of Painting in the United States", Art
Digest, New York, vol. 23, no. 2, October 15,
1948, pp. 9-10.
October 13-December 11, 1949.
Pittsburgh International, October 19-December 21, 1950.
FEDERATION OF MODERN PAINTERS
AND SCULPTORS
4th Annual Exhibition, National Arts Club, New York,
March 14-31, 1944.
5th Anniversary Exhibition, Wildenstein Gallery, New
York, September 12-29, 1945.
6th Annual Exhibition, Wildenstein Gallery, New York.
September 18-October 5, 1946.
8th Annual Exhibition, Wildenstein Gallery, New York,
September 14-October 2, 1948.
9th Annual Exhibition, National Arts Club, New York.
October 12-29, 1949.
10th Annual Exhibition, New School for Social Research,
New York, opening November 10, 1950.
11th Annual Exhibition, National Arts Club, New York,
September 24-October 9, 1951.
12th Annual Exhibition, National Arts Club, New York,
1952.
13th Annual Exhibition, Riverside Museum, New York,
January 10-31, 1953.
14th Annual Exhibition, Riverside Museum, February 28-
March 12, 1954.
15th Annual Exhibition, Riverside Museum, New York,
November 13-December 4, 1955.
16th Annual Exhibition, Riverside Museum, New York,
November 4-25, 1956.
18th Annual Exhibition, Riverside Museum, New York,
November 2-23, 1958.
20th Annual Exhibition, Riverside Museum, New York,
October 30-November 27, 1960.
21st Annual Exhibition, Riverside Museum, New York,
November 12-December 10, 1961.
22nd Annual Exhibition, Lever House, New York, January
13-27, 1963.
59
23rd Annual Exhibition, Lever House. New York, January
12-26, 1964.
24th Annual Exhibition, Lever House, New York, January
10-24, 1965.
ROSE FRIED GALLERY, New York
Modern Masters :
December 15, 1952-January 15, 1953;
November 20-December 1961 ;
January 11-February 15, 1964.
GROUP INTIME, Ferargil Gallery, New York, 1946,
1948-1952.
THE SOLOMON R. GUGGENHEIM MUSEUM,
New York
Before 1953 The Museum of Non-Objective Painting Trav-
eling exhibitions, circulating in United States:
Circulating Exhibition, 1951-1952.
Eighteen Non-Objective Paintings, 1951-1953.
Watercolors, 1960-1961.
Participated in The Solomon R. Guggenheim Museum's
extended loan program, 1953-1961.
Group exhibitions at the Museum:
Loan Exhibition
openings: June 15, October 15, 1943;
April 15, October 15, 1944;
June 6, December 5, 1945;
June 5, October 15, 1946;
February 12, July 15, October 15, 1947:
October 11, 1949;
February 21, June 20, November 14, 1950:
April 3, November 27, 1951.
Selection IV, October 6, 1954-February 27, 1955.
Selection VI, January 25-May 1, 1956.
Summer Selection, 1962, July 3-September 30, 1962.
Museum Collection, Spring 1963, April 19-June 2, 1963.
INTERNATIONAL COUNCIL OF THE MUSEUM
OF MODERN ART, New York
Abstract Drawings and Watercolors: U.S.A., circulated
January 14, 1962-May 28, 1963 to:
Museo de Bellas Artes, Caracas ; Museu de Arte Moderna.
Rio de Janeiro; Museu de Arte Moderna, Sao Paulo;
Museo de l'Arte Moderno, Buenos Aires; Museo Munici-
pal de Bellas Artes, Montevideo; Reifschneider Gallery.
Santiago; Instituto de Arte Contemporaneo, Lima; Casa
de la Cultura Equatoriana, Guayaquil, Ecuador; Museo
de Arte Colonial, Quito, Ecuador; Museo Nacional, Bo-
gota; Instituto Panameno de Arte, Panama; Palacio de
Bellas Artes, Mexico City.
SALON DES REALITES NOUVELLES
Musee des Beaux-Arts de la Ville de Paris:
1st exhibition, 1947; 2nd exhibition, July 1948; 4th ex-
hibition, 1950; 5th exhibition, June 1951; 6th exhibition.
July 1952; A group of paintings loaned annually by The
Museum of Non-Objective Painting.
SALON DES SURINDEPENDANTS
Porte des Versailles, Paris :
4th exhibition opening October 16, 1931 ; 6th exhibition,
October-November 1933; 7th exhibition, October-Novem-
ber 1934.
Review: raynal, maurice. "La Jeunesse aux 'Surin-
dependants'", L'Intransigeant. Paris, October
29, 1933.
SOCIETY OF INDEPENDENT ARTISTS
Filth Annual Exhibition, Waldorf Astoria, New York,
opening March 6, 1921.
Sixth Annual Exhibition, Waldorf Astoria, New York,
opening March 12, 1922.
TOLEDO MUSEUM OF ART, Ohio
Contemporary American Painting: 34th Annual Exhibi-
tion, June-August 1947;
35th Annual Exhibition, June- July 1948.
UNIVERSITY OF ILLINOIS, Urbana
Exhibition of Contemporary American Painting: First
Annual, Spring 1948.
Second Annual, February 27-April 3, 1949;
Third Annual, February 26-April 2, 1950;
Fourth Annual, March 4-April 15, 1951. Purchase prize
awarded to Xceron.
Reviews: "Six New Yorkers Win Illinois University Art
Prizes", The New York Times, New York, April
10, 1951.
"Illinois' Faculty Makes Its Choice", Art Digest.
New York, vol. 25, no. 14, April 15, 1951, p. 11.
"Xceron's Beyond White Bought by Illinois
University", Atlantis, New York, May 13, 1951.
ziogas, e. Krikos, London, nos. 8-9. May-June
1951, p. 34.
Contemporary American Painting and Sculpture: Sixth
Annual, March 1 -April 12, 1953;
Eighth Annual, March 3-April 7, 1957;
Eleventh Annual, March 3-April 7, 1963.
(Recurring exhibition with changed title)
WHITNEY MUSEUM OF AMERICAN ART, New York
Annual Exhibition of Contemporary American Painting;
December 10, 1946-January 16, 1947; November 10-
December 31, 1950; November 6. 1952-January 4. 1953:
November 9, 1955-January 8, 1956: December 11, 1963-
February 2, 1964.
THE SOLOMON R. GUGGENHEIM MUSEUM
STAFF
Director
Thomas M. Messer
Curator
Associate Curator
Research Fellows
Librarian
Lawrence Alloway
Louise Averill Svendsen
Carol Fuerstein and Rose Carol Washton
Mary Joan Hall
Public Affairs
Membership
Registrar
Conservation
Photography
Custodian
Everett Ellin
Carol Tormey
Alice Hildreth Goldman
Orrin Riley and Saul Fuerstein
Robert E. Mates
Jean Xceron
Business Administrator
Glenn H. Easton, Jr.
Administrative Assistant
Office Manager
Purchasing Agent
Sales Supervisor
Building Superintendent
Head Guard
Viola H. Gleason
Agnes R. Connolly
Elizabeth M. Funghini
Joseph D. Griffin, Jr.
Peter G. Loggin
Fred C. Mahnken
PHOTOGRAPHIC CREDITS All photographs but the following were made by Robert E. Mates and Paul Katz :
Dena, New York : Portrait of Xceron.
Otto Nelson. New York: Portrait by Torres Garcia; nos.43, 47, 50, 55.
John D. Schiff, New York: nos. 48, 52, 53.
Exhibition 65/5 September-October, 1965
3,000 copies of this catalogue,
designed by Herbert Matter
have been printed by Sterlip Press
in August 1965
for the Trustees of The Solomon R. Guggenheim Foundation
on the occasion of the exhibition
"Jean Xceron"
THE S0L0>10> R. CpK^E.XHEIM Ml SKI >l
1071 FIFTH AVENUE, NEW YORK 10028